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The Introduction, Demonstration and Evaluation of a New Typeface Identification System J Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 1989 The introduction, demonstration and evaluation of a new typeface identification system J. Ames Parsons Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Parsons, J. Ames, "The introduction, demonstration and evaluation of a new typeface identification system" (1989). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. THE INTRODUCTION, DEMONSTRATION AND EVALUATION OF A NEW TYPEFACE IDENTIFICATION SYSTEM by Ames Parsons A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute of Technology May 1989 Thesis Advisor: Professor Archibald D. Provan ACKNOWLEDGEMENTS This thesis was a collaborative effort. Accordingly I wish to thank the following for their help: Professor Archibald Provan for acting as my primary thesis advisor, for allowing me to virtually monopolize (for months) the Xerox Star system, for providing the fundamentals upon which this thesis is based, and for providing copious good cheer, patience, and support; Professor Frank Cost for acting as my research advisor, and for designing and testing the TYPE-ID computer program; Mr. Paul Swift, Director of the Graphic Arts Division of the RIT Research Corporation, for sponsoring this project, and for acting as my thesis advisor; Mr. David Pankow, Curator of the Cary Library, for providing me with innumerable reference sources; Professor Emery Schneider for allowing me and my helpers to use the typesetting equipment in the Phototypesetting Lab; Professor Marie Freckleton for keeping the lab open; Ms. Helga Birth, Librarian of the Technical and Education Center for the Graphic Arts, for her help and support; Mr. John Winslow, President of Birdlow Associates, Inc. (Maplewood, NJ) and Jeff Wasilko for their typesetting help; Tim & Maude Kent, Rob Kent, Mom and Dad, James Hamilton, Mary Lou Bulger, Sean McElveney, Jason Rosenberg, and various printing graduate students for their help in testing the various generations of the TYPE-ID system; gang" Rick Schmidle and Mark DuPre and "the at the T&E Center for their unbridled humor and wit; and My parents for their input, steadfast encouragement and support. TABLE OF CONTENTS LIST OF TABLES vi ABSTRACT 1 CHAPTERS 1. Introduction 1 Notes 3 2. Literature Search 4 Notes 8 3. Theoretical Basis of Study 9 The Panose Problem 9 The Pass Option 10 The Null Digit 11 4. Hypothesis 13 5. Definitions 14 6. Methodology 16 m 7. Results and Conclusions 18 Conclusion 1 18 Conclusion 2 19 Conclusion 3 20 Conclusion 4 21 Conclusion 5 24 Conclusion 6 25 Conclusion 7 27 Conclusion 8 28 Conclusion 9 28 Conclusion 10 29 Conclusion 11 29 Conclusion 12 29 8. Summary 31 9. Suggestions for Further Research 33 Suggestion 1 33 Suggestion 2 33 Suggestion 3 36 Suggestion 4 39 Notes 40 BIBLIOGRAPHY 41 APPENDICES A. The Panose Number Generator 44 B. The Panose Classification Index 60 C. Samples of Panose Specimen Pages 64 D. TYPE-ID Profile Generator 71 E. Typeface Specimens 149 IV F. Data 201 G. Typeface Nomenclature 216 Notes 223 H. Typeface Classification Systems 224 Theodore Low De Vinne (1900) 225 F. Thibaudeau (1903) 225 Legros & Grant (1922) 226 Beatrice Warde (1935) 227 Johnson & Berry (1953) 227 Maximilien Vox (1954) 228 Deutsche Industrie Norman (DIN) System (1959) . 228 ATypI (1961) 230 The British Standards System (1965) 231 Alexander Lawson (1971) 231 Marshall Lee (1979) 232 Rookledge & Perfect (1983) 232 Martin Solomon (1986) 234 Archibald Provan (1989) 234 Notes 240 I. Typeface Identification Systems 241 The gal Method 242 Rookledge's Earmark Tables 244 The 100-ems Method 246 The Panose System 248 Notes 249 J. TYPE-ID Designs 250 LIST OF TABLES TABLE 1 Collected Data 202 TABLE 2 Average Search Yield and Probability of Success for Each Sequence 211 TABLE 3 Average Search Yield and Probability of Success for Any Search Based on One Sequence 212 TABLE 4 Probability of Success for Searches Based on One or More Sequences 213 TABLE 5 Average Search Yields for Searches Based on One or More Sequences 214 TABLE 6 Average Number of Sequences Needed to Narrow the List to One and the Probability of Success with TYPE-ID 215 VI ABSTRACT Graphic communicators, including typographers, designers, and descriptive bibliographers, are often called upon to identify typefaces. Since there are thousands of typefaces available in the marketplace today, it is unlikely that any one designer, typographer or bibliographer can name them all at sight. Accordingly, there is a need for a typeface identification system. The purpose of this paper is to introduce, demonstrate and evaluate such a system. An identification system called TYPE-ID was developed and tested. Two new option" digit" principles the "pass and the "null were introduced. A sequence of questions was written for a number of different characters. An "database" index or of 50 typefaces was created. The sequences and database were incorporated into a computer program. Subjects tested the system 1000 times. Based on the results, it appears that the system works. For searches of the database based on one sequence, the system proved to be 97.8% accurate. Chapter 1 INTRODUCTION "identify" Graphic communicators are often called upon to (ie., determine the specific commercial name of) typefaces. To wit: (1) the typesetter who "match" has been instructed by his client to a particular specimen of type must first determine the name of the typeface in which the specimen was set; (2) the designer who has happened upon a sample of a new or unfamiliar typeface (while perusing a periodical, perhaps) must first determine, before he can use the typeface in his next layout, the name of the typeface in which the sample was set; or (3) the descriptive bibliographer! who wishes to describe the type of a particular book, must, among other things, determine the name of the typeface in which the book was set. There are thousands of typefaces available in the marketplace today. It is unlikely that any one designer, typographer or bibliographer can identify them all. Indeed, Geoffrey Dowding writes in The History of Printing Types:2 It is, of course, no part of the typographer's job to recognize and name at sight any specimen of typeface placed before him. Such is an impossible task and would only be demanded by one ignorant of the subject. 3 task" Because it is an "impossible to identify every specimen of type at sight there is a need for a typeface identification system. Such a system would enable its user, whether beginner or expert, to determine, accurately, the commercial name of the typeface in which any given sample of type is set. Accordingly, the purpose of this paper is to introduce, demonstrate, and evaluate the first step in the development of a new typeface identification system. Chapter 1 NOTES 1. G. Thomas Tanselle suggests in his article entitled "The Identification of Description" Type Faces in Bibliographic (The Journal of Typographic Research, October 1967, p. 428) that a "precise description of the type used in a book is a proper part of the total bibliographic description of tnat book." Should this become the prevailing view, there would be a great demand for a typeface identification system. Particularly from those selected to identify the type in all the books in the Library of Congress. 2. Geoffrey Dowding, The History of Printing Types. (London: Wace & Co., 1961). xxiv. 3. Ibid. xxiv. Chapter 2 LITERATURE SEARCH! The typeface identification system that has been developed in conjunction System" with this thesis is based, in part, on the "Panose as presented by Benjamin Bauermeister in The Panose System: A Manual of Comparative Typography2 The specifics of The Panose System are discussed below.3 In order for the user of the Panose System to identify a typeface, he must number." determine its "seven-digit classification This is accomplished by generator." using the the supplied "number The number generator is essentially a series of 7 questions. Each question "generates" one digit. The first digit of the seven-digit number the user must generate corresponds to serif style. Accordingly, question 1 asks: QUESTION #1: What kind of serif structure does your typeface have? 1. cove serif 2. square serif 3. square cove serif 4. thin-line serif 5. exaggerated serif 6. triangle serif 7. square normal-end sans-serif 8. square perpendicular-end sans-serif 9. flared-end sans-serif 0. Rounded-end sans-serif If the user should determine, after studying the definitions of the above terms supplied in the introductory sections of the Panose system (see serifs" Appendix A) that his unidentified typeface has "cove (answer 1 "1." above), then the first digit of his seven-digit number is If the user serifs" should determine that his unidentified typeface has "square (answer "2." 2) then the first digit of his seven-digit number is In short, the number seven- corresponding to the answer selected becomes the first digit of the digit number. "proportion." The second digit the user must generate corresponds to Accordingly, question 2 asks: QUESTION #2: What kind of proportion does your typeface have? 1. old style 2. modern 3. even width 4. expanded 5. condensed 6. monospaced style" If the user should determine that his unidentified typeface has "old proportion (answer 1) then the second digit of the seven-digit number is "1." If the user should determine that his unidentified typeface has "monospaced" proportion (answer 6) then the second digit of the seven- "6." digit number is In short, the number corresponding to the answer selected is the second digit of the seven-digit number.
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